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A copy of this book will be mailed to any address for 50 cents. 

9 




Materials, Movements, Etc. 


In order to do good work, it is very necessary that you 
use good pens, ink, paper and holders. Some people have 
an idea that “professionals” can write well with any kind 
of material: such is not the case. 

PL NS. 

In our opinion, nothing is more essential than good 
pens. For business writing (unshaded) we use Gillott’s 
Xo. 404. If we want a finer line we use Xo. (504. Spen¬ 
cerian Xo. 1 is also good. For artistic (professional) writ¬ 
ing we use Gillott’s principality Xo. 1. The Xo. ('04 is the 
best pen we know of for students in artistic writing. 

INK 

For all fine line work that is not to be engraved, we 
use Arnold’s Japan ink, mixed with Arnold’s writing fluid, 
or a few drops of coffee. This ink produces a tine hair line 
and a glossy black shade. In preparing fork for photo-en¬ 
graving, use India ink. For fine line work, put in a few 
drops of cold water each day. 

PAPER 

The best paper for practice is “fools cap” or letter size. 
Get a surface that takes ink well and that will not cause the 
shades to “spread.” Don’t use note paper for practice, as 
the sheets are too small. One is apt to feel timid when 
writing on such paper. 

HOLDERS 

For business writing we use a straight holder. Never 
use a metal tip. For shaded writing we use an oblique 


holder. In sellecting one make sure, that it is properly ad¬ 
justed. It will pay you to get a good one, as you can’t do 
your best work without it. 

MOVEMENT. 

For business writing use the forearm (muscular) 
movement. Let the holder rest lightly in the hand to al¬ 
low the fingers to act a very little on some of the small let¬ 
ters. Xever on capitals. You will move the fingers 
enough unconsciously if you do not grip the holder. 

Much has been said regarding the correct movement to 
be used for artistic combinations. Some say use muscular 
movement; others say use whole-arm (arm extension). 

After having studied and practiced all movements, giv¬ 
ing each a test of several years, we are not ready to recom¬ 
mend any one to the exclusion of all others. It is true that 
a man, with ordinarily large muscles, can, by taking off his 
i oat and perhaps baring the arm, produce capitals large 
enough for ordinary purposes; but we are not always so 
situated that we care to do this: nor do I think there is 
need of it. The best advice I can give you is, learn mus¬ 
cular movement, first, then if you meet a combination that 
seems too large for your muscles, just raise the arm and let 
the sleeve glide. That our best all round penmen use 
whole arm movement at times, there is no doubt. Get 
familiar with all movements., the forearm first, and then 
use the one that is best adapted to the size of the letters 
you are making. 





Business Combinations 


There are several reasons why we should join business 
capitals: 1st, because it makes the writing more rapid; 
every time the pen is lifted, time is consumed. 2d, because 
they are more pleasing in appearance when so written. 
They look more “dashy” and business-like, and when prop¬ 
erly written are just as legible. 

Any letters can be joined, but it is not always best to 
join them. If they do not go together naturally, it is best 
to write them separately. You will notice by the work on 
the following pages, that we do not always use the same 
style of capitals, but rather, the style that joins best. Use 
as few lines as possible to produce the desired effect. 

Notice the style C used in AC (page 5) then see the 
change in CA. If you will try the other style C in each 
case jmu will find that they do not join so well. The same 
change will be noticed in C’B, CG and CII. The same C 
is used wherever it is initial and the other style if it is last. 
The same is true of E, (See AE, EA. EW, WE, ES, SE, 
EJ, JE, etc). 


There are other changes which you will do well to no¬ 
tice. On page sis you will find more of the changes al¬ 
ready mentioned and also some new ones. (See FJ, GJ, 
GM, HW, IID, JA, eJM, JR, etc.) Of course these are not 
the only ways in which these letters may be combined, but 
they show the most rapid and most natural way. 

We think you will find there all the principal styles of 
joinings used. The illustrations given will, of course, sug¬ 
gest an almost unlimited number of others. 

Initial A, as used in AC, may precede each of the fol¬ 
lowing letters: B, D. F, G, II, K, M, X, P, R, S, T and W. 
The style F used in FB, may precede any of the following: 
A, B, D, E, F, G, II, K, L, P, R, S, T and W. While the 
style F used in FJ can precede M, X, W, Z, Q. X, U, V, 
or Y. The other styles may be used in about the same 
number of places. Try them. 

Keep the pen on the paper as much as possible and 
make the letters rapidly. 


4 







o 






6 





Business Signatures 


In order to handle the work given on pages 8 and 9, 
you should lirst master the combinations on the previous 
pages. You will find the small joinings used here that are 
used there. It is, of course, a little more difficult to com¬ 
bine three letters than two, yet it is not a hard matter if 
you will remember that the letters are made in the ordi¬ 
nary form, all the difference being that the pen is not lift¬ 
ed between each. 

While the pen is not lifted , it must sometimes come to 
a standstill in order to form a good angle. This rest should 
be quite pronounced at first, but after one is familiar with 
a combination, the pause is so slight as to be barely per¬ 
ceptible. 

The ABC combination is made without lifting the pen. 
B. C. Davis, C. D. Ernest and E. F. Grayson are written 
throughout without lifting pen, except to make top of F, 
which is made last. 

In II. I. Jones we have combined only I and J, for 
the reason that the letters do not join naturally. These 
letters can be joined by beginning with J and writing the 


initials backwards. You will need to use a different style 
H however. Try it. 

You will notice that the M N combination is written 
here with final curves, and on page 9 without them. We 
favor the latter style. 

Each combination on page 9 was written without lift¬ 
ing the pen, except to make top of T or F, last part of X, 
one style of H and K. They were all written at a high 
rate of speed such as will meet the requirements of busi¬ 
ness. In J. E. G. you will notice a small loop in top of E, 
that is done by not resting there. The same will be seen 
in first part of T in T. J. R. In H. M. G. and I. H. M. 
we have used an H that is made without lifting pen. It is 
very practical in rapid work and can be used in many 
places. The style W in B. W. K. is very rapid and joins 
well. 

We have striven to give you all the practical ways of 
joining business capitals, and we think that by mastering 
them you will find little difficulty in joining any letters. 






8 





9 







Artistic Combinations 


The work on the opposite page illustrates all the prin¬ 
cipal ways in which artistic capitals are combined. By 
mastering them you need never have difficult}' in joining 
any number of letters that will admit of it. 

Sometimes a more pleasing arrangement can be made 
by writing each letter separate, (this is illustrated farther 
on) but as a rule, artistic capitals join very nicely. Avoid 
a superfluity of curves and wrinkles:'they make the letters 
difficult to read and do not add anything to their beauty. 

To get the form of a combination, draw it several 
times slowly, then put speed into it and write it until you 
can see it with your eyes closed. Take up the work in a 
systematic, business-like way and much good will follow 
your efforts. 

In the first line is shown the leading ways in which A 
may be joined to other capitals, using A as the initial let¬ 
ter. In A. B. we have a common style of joining. Make 
A and first part of B before pen is lifted. A may be joined 
to R, K, H, P, C, D, E, F, L or T in the same way. A. C. 
is made without lifting the pen. This A will join to any 


of the above capitals also. To make A. D. begin at top of 
1). lift pen at base, then finish. In A. X. don’t lift pen 
until you make A and first part of X. The following will 
join to this A : M, X, W, Z, Q, X, 11, V or Y. To join 
B's, make stems, then begin at bottom of last B and make 
backwards. Any of the reverse oval capitals may be joined 
to B as in B. M. B. J. and B. W. are self explanatory. 
C. B., C. C. and C. I). are same as A. B., A. C. and A. I). 
C. W. is pleasing but difficult; M. X, Z, Q, X. U, V or Y 
may be joined to this C. I may follow any letter ending 
with same curve as D. Make D and lift pen. then make I 
inside the final curve, finishing lines meet by re-touching. 
The styles of E shown m E. K. and E. L. will join to al¬ 
most any letter. E. A. is very pleasing and we wonder 
that it is not used more. Make stem to E, then make A 
and throw finishing line over F. F. B. is same as F. A. 
To make F. J.. begin at stem of F. don’t lift pen. Begin 
with I in I. M. and I. J. To make J. A., begin at top of 
A. Any stem letter may be joined to I or J in this way. 


10 






11 





































Artistic Signatures 


A signature, in order to present an attractive appear¬ 
ance, need not necessarily be made without lifting the pen, 
nor need all the letters be joined. The fact is, there are 
letters that look much better when written separately. 
They should always be interwoven in such a way as to pre¬ 
sent a whole appearance. 

The principal points to be kept in mind are legibility, 
grace and uniformity. If you cannot join a number of 
capitals so that they are perfectly legible, you would better 
not join them. Too many lines will spoil the effect ; use 
just lines enough to make it graceful, no more and no less. 
Strive to make short, smooth, clean cut shades and full 
round curves. A combination will not be pleasing if exe¬ 
cuted with a slow motion. It must be made with freedom 
and dash, but not recklessly. 

Uniformity is secured by making all lines cross each 
other nearly at right angles, and by getting lines parallel. 


Light lines may cross shades, but shades should never 
cross each other. 

Large, heavily shaded capitals are most admired for 
this kind of work, but avoid making them look scrawly, 
overbalanced and out of proportion. 

The combinations presented herewith need very little 
explanation. You can usually tell how a combination is 
made by studying it. 

You would do well to keep the following suggestions 
constantly in mind and then PRACTICE: Never let the 
pen get ahead of the mind. All shaded lines are made 
with a downward motion. In making an angle or short 
turn, the motion should be slower. Study should precede 
practice; you are not likely to make better forms than the 
mind has conceived. Beginning and ending lines have 
much to do with making a signature artistic or otherwise. 
If you don’t get a combination right the first time, keep at 
it until you do. What is worth having is worth working for. 


12 







13 



























14 






















15 























Contributions by Well-known Penmen. 


The signatures on page 17 and 18 were written by E. L. Glick, Lowell, Mass. Those on page 17 winning first prize 
in a recent contest offered through the New England Penman. Those on page 19 won second prize in the same contest, 
and were writteu by E. L. Hooper, Portland, Maine. The signatures which follow were, with a very few exceptions, writ¬ 
ten by the penmen whom they represent; to whom we are greatly indebted. They are here presented for various reasons: 
1st—Because they so well illustrate the principles which this book is designed to teach. 2nd—Because they are valuable 
as a collection of autographs. They represent a great variety of styles of writing and ways of combining capitals. They 
are the very essence of perfection in the line of combinations, and were collected and engraved at an enormous outlay of 
time and money. Every aspiring penman would do well to imitate them. 


16 








a 


17 








































10 










*20 














21 








22 




















23 












24 











25 













26 

















V 



28 




You Can Save Honey! 


15)' ordering yOur supplies, books, papers, etc. from us. Read carefully the following list and if there is anything in 
it you want, order it from us and save money. These works are all standard and are too well known to need any recom¬ 
mendation from us. Every penman should have a library and should have in it all the standard works. Start one and you 
will be surprised to see how fast it grows. We will send auy of the books or papers named below, post-paid to your ad¬ 
dress, at the regular price, and will send you the New England. Penman, one year, FREE. 


Zanerian Alphabets, by C. P. Zaner, 

Zanerian Theory of Penmanship, by (’. P. Zaner, 
Zaner’s Gems of Flourishing, by C. P. Zaner, 
Pen Studies, by C. P. Zaner, 

Zanerian Compendium of Business Penmanship, 
'Thought Gems, by F. B. Courtney, 


Price, post-paid, $1.00 
“ 1.00 
“ “ .50 

“ “ .50 

“ “ .60 

“ “ .50 


Brown’s Portfolio of Designs, bv E. L. Brown, Price, post-paid, $ .50 
Mack’s Easy Road to Writing, by J. B. Mack, “ “ 1.00 

Script Combinations, by ]. B. Mack, “ ft .50 

Penman’s Art Journal (News Edition) monthly, $1.00 a year. 

“ “ “ (Regular Edition) “ .50 “ 

The Western Penman, monthly, .60 “ 


We will send the Penman’s Art Journal (News Edition), The Western Penman and The New England Penman, if 
the three are ordered at one time, for $1.25. Or we will send the “Regular Edition” of the Penman’s Art Journal, which is 
identical with the “News Edition” with the exception of four pages of News, and the other two papers, all for $1.00. 

PAPER _A goood quality for practice work, size 8x10 1-2, one ream, (960 sheets), by express. $1.50. Eive reams 

by express, $5.00. 

PENS _ C fillott’s No. 404. for business writing, 1 gross box (144 pens), by mail, 05 cents. Five gross, by express. 

50 cents per gross. Gillott’s No. 604, for either business or artistic writing, 1 gross, by mail, 70 cents. Five gross, by 
express, 60 cents per gross. Gillott’s No. 1, for artistic writing. 1 gross, by mail, 90 cents'. 

INK _Arnold’s Japan, the best made for card writing, letter writing, flourishing, etc., 1 pint, by express, 50 cents; 

1 quart, 90 cents; 5 quarts, $3.50. India Ink, for lettering, drawing and all work for photo-engraving, 1 bottle, by mail, 
35 cents; 5 bottles, by express, $1.25. 

HOLDERS. — Straight, for business writing, one holder, by mail, 10 cents; 1 dozen, 50 cents. Oblique Holders for 
artistic writing, properly adjusted, finished either in black or natural wood, one holder, by mail, 20 cents; 1 dozen, $1.00. 


Remit by Money Order or New York Draft. Stamps taken for small amounts. 

N. B .— Goods sent by mail are prepaid, those setit by express are not. 

29 


Addkess : 

J. B. HACK, Nashua, N. H. 








Don’t 


BUY a work on penmanship that was out of date ten or twenty years ago; or if you have such a 
family, don’t be blind enough to think that it is all you or your descendants need to teach you to 
books are behind the times. Penmanship is not taught to-day as it was ten years ago;, except 
don’t know any better. Why not get SOMETHING NEW ! SOflETHING FRESH ! 


book in the 
write. Such 
bv those who 



Is Right U p to Date ! 


It contains more copies and more instructions than 
any similar work published. It gives a complete 
course in Rapid Business Writing, Artistic Writing 
and Rapid Lettering, making in all over 300 lessons. 
The lessons are carefully graded and are made so plain 
that failure to master them is n£xt to impossible. 

Handsomely and Durably Bound in Cloth and Gold, 

Price, Post-paid, $1.00. 


Strongly Indorsed by 

From ZANER.— You have gotten out an attractive work, full of up-to- 
date ideas, and we wish vou much success with it. C. P. ZANER, 

President Znnerian Art College, Columbus, O. 

From GLICK. —Your new book “Mack’s Easy Road to Writing” re¬ 
ceived, and I wishato say that you certainly have struck the key note, in the 
way to impart rapid business writing to home students. Everything about 
the’book is up-to-date, and in my opinion, is the most complete book on busi¬ 
ness writing published. It should have a large sale. E. L. CLICK, 

New England Business University, Lowell, Mass. Penman. 

From ELSTON.— After giving your book a very careful reading, I have 
no hesitancy in pronouncing it a thorough, practical, common sense treatise 


Teachers and Students, 


on the subject. You have handled the subject in n master way, and your book 
is up-to-date and right in the push. It should be in the hands of every ama¬ 
teur and every professional penman. Home students would be greatly bene¬ 
fited by the use of it. J. A. ELS TON, Penman, , 

Christian University, Canton, Mo. 

From a Home Student.— To me it is worth its weight in gold. I would 
not part with it if 1 could not get another. CHAS. PALMER, 

v Wilmington, Del. 

From COURTNEY.— Your valuable treatise constitutes one of the most 
important contributions made in the science of penmanship. 

F. B. COURTNEY, Artist Penman, Kansas City, Mo. 


30 

















The Best Way! ^ 

To increase your salary, is to enlarge your 
ability- It is easier to secure a position that 
pays $100 per month, if you are competent to 
fill it, than one which pays only $25. The 
reason is that there are more of the $100 pos¬ 
itions than penmen to fill them, and more 
$25 penmen than positions. 



is generally acknowledged to be 

THE LEADING' SCHOOL OF PENMAN¬ 
SHIP AND ART! 

HUNT AMERICA 
IT EXCELS ! Not only in giving in¬ 
struction, but in aiding its pupils (free of 
charge) to secure desirable employment. 

Sample copy of "The Zanerian Exponent” Free. 

Address: 

THE ZANERIAN ART COLLEGE, 

COLUMBUS, OHIO. 


<A THE NEW ENGLAND PENMAN »<> 

Is a beautifully illustrated paper, 
devoted to 

. Penmanship and • 

•©• ••• 

• Practical Education. * 

—It Contains Lessons in— 


Writing, Flourishing, Drawing, Lettering, Card=Writ= 
ing, Etc., by noted penmen. 

Every number contains specimens of writing, flourishing, drawing, ornate initials, 
fancy signatures, etc., by students and teachers of penmanship. 

If you wish to improve your writing, and get the latest and best ideas on teaching, 
you can certainly not afford to be without this paper. 


PRICE, 

25 Cents a Year. 


NTASHUA, TsT. IEI. 



31 















Has everything you want to know about writing, (slant or vertical, business or professional) about engrossing, pen lettering, 
designing, methods of teaching writing and drawing in public and private schools. Richly illustrated and as full of instruction as 
an egg is full of meat. 

NEWS EDITION , - $1.00 a year, jo cents a number. 

REGULAR EDITION, - yo a year, y cents a number. 


THE BUSINESS JOURNAL. 

THE UP-TO-DATE BUSINESS MAN’S PAPER. 

Keeps its readers in touch with what is going on in the world of Commerce, Finance and Business generally. Illustrates the 
latest appliances and methods of conducting business. Solves knotty questions in accounting; presents the • ‘latest wrinkles" in book¬ 
keeping; explains the newest labor-saving devices; reviews business literature; reproduces the brightest current advertisements (to¬ 
gether with much sage advice from professional advertising sharps) ; interviews successful business men ; keeps its eyes and its col- 
umus wide open for the freshest and most helpful information for the rierchant. Business Hanager, Advertising Man, Credit 
Man, Bookkeeper, Amanuensis and Business men generally. 50 cents a year, 5 cents a number. 

£g|F“Agents can make money taking subscriptions for both Journals. Send for terms. 


PENMAN’S ART JOURNAL TEACHER’S BUREAU. 

Supplies Teachers of Penmanship, Drawing, Commercial, Shorthand and Typewriting branches. It brings teachers and schools 
together. A large acquaintance among schools and teachers enables the management to select good teachers for good schools. A 
small fee is charged the teacher; no charge is made the school. Reliable schools seeking teachers, and well qualified, reliable teachers 
seeking places are wanted for our lists. No others need apply. Address, 

Ames & Rollinson Co., 

202 BROADWAY, NEW YORK. 


32 




































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